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David Cronenberg Digging the 'Timecrimes' Remake?

The last time I saw my awesome amigo Nacho Vigalondo, it was at a Sundance party during which he was A) very thrilled to have his film play the festival, B) mega-elated that writer/producer Steven Zaillian would be involved in the English-language remake of his film (Timecrimes), and C) seriously drunk and hanging out with an overworked karaoke machine. When I pressed him for additional details, he said something to the effect of "I don't know yet, but .... Steve SALE-IAN, man! He wrote Bobby Fischer and Gangs of New York, man..." To which I responded, "Yeah, dude. Damn good writer. Plus Schindler's List, A Civil Action, American Gangster, and the awesome Falcon and the Snowman!"

The drunken Spaniard's eyes went absolutely wide: "Steve SALE-IAN is remaking my movieeeee!" He was like a little kid on Christmas morning, I swear. It was an awesomely sweet thing to see. But since we weren't really sure about Mr. Zaillian's specific attachment to the remake, this fresh news is also pretty exciting. Wouldn't it be cool if the Timecrimes remake had a Steve Zaillian screenplay and a director named ... David Cronenberg?? (I've seen Timecrimes more than once, and I think Mr. Cronenberg would be a perrrrrrrrfect fit for this time-travel / serial killer material.)

The United Artists re-do is still in the very early stages, so we could see a lot of personnel changes before the American version of Timecrimes hits the scene -- but given how positive the reaction has been among festival audiences, flick-buyers, and remake makers, we might just see it a little sooner than later. In the meantime, keep an eye out for the original film, which is a favorite among the Magnolia gang, and should be getting a release some time later this year.

Gracias: Shock and Blogdecine

'The Signal' (Finally!) Touches Down Tomorrow


(Dan Bush, AJ Bowen, Jacob Gentry, David Bruckner)

The very best part of my job (aside from all the sex with actresses, I mean) is when I get to see a small horror flick early and then spend 14 months reminding the genre fans that, yes, it's still on the way. (Like that freaky French one about the terrorized preggo woman. It's coming, trust me!) It was about 14 months ago when I first saw (and really enjoyed) an Atlanta-made indie genre flick called The Signal -- and then I ran into the Signal gang again a few months later at SXSW. The film was received quite enthusiastically at both festivals.

Directors Jacob Gentry, David Bruckner and Dan Bush were in Philadelphia recently as part of a promotional tour for the film. Along with head baddie AJ Bowen, I took the guys to have their very first Philly Cheese Steak, and then we headed back to the theater for a Q & A session with the audience -- but not before we stopped at the Philadelphia Art Museum and the knucklehead quartet did their Rocky Balboa sprint up the steps. (See photo!)

So yeah: I liked the flick long before I liked all the goofballs who made the movie, so I thought it would be nice to offer a quick little reminder: Magnolia Pictures is releasing The Signal tomorrow (at these theaters), so if you're a serious horror fan who likes to whine and moan at all the studio-backed PG-13 horror crap that hits the screens every month ... here's your chance to support a smaller flick. You'll have a good time and you'll feel good about it, too.

Magnolia Absorbs a 'Donkey Punch'

Our pals from Magnolia Pictures were up at Sundance 2008 in support of their Timecrimes acquisition -- but it looks like someone from the distribution department caught a few of the midnight screenings: According to Variety, Magnolia Pictures has acquired Olly Blackburn's UK thriller Donkey Punch, and they plan to release it through their newly-created Magnet division. (You can check out my DP review right here at FEARnet.)

The story of some sea-bound debauchery that goes horribly wrong (think Very Bad Things, only not as absurdly amusing), Donkey Punch is a handsome and tight-knuckled chiller -- even if it is more than a little beholden to movies like Dead Calm and Shallow Grave. It's about seven young adults who take off on a stunningly massive yacht, but when one partier ends up (accidentally dead), it sets off a series of events that leaves most of other the partiers, well, dead. (It is a horror flick after all.)

Donkey Punch will open in the UK (courtesy of Optimum) some time this summer. No word yet on when Magnolia aims to unleash this one -- but bet on a very limited release pattern before the arrival of a satisfyingly packed DVD. Also on the horizon from Magnolia: Big Man Japan, The Signal, Kiltro, Mirageman, Eden Log and (of course) Timecrimes.

Live from Sundance: Those Photos I Promised!

Several days ago I wrote a lengthy little rant in which photographs were promised. (More than the ones Kim posted already, that is.) And since I'm actually back home* in Philly right now (and therefore clearly lying about the "live from Sundance" part), I figured now would be a good time to put together one of those nifty little "galleries" that all my colleagues love so much.

So here you go. Click on through for pics of me, Snider, Voynar, Rocchi and Davis -- plus some shots of our movie-nerd pals from around the interwebs. Even more pics will soon be available at the Fantastic Fest blog, because that's where Tim League plans to house all the goofier snapshots.

(* Oh, and my first movie after returning home from a fine (if unspectacular) visit to Sundance? Freakin' Meet the Spartans. Thank the lord for film festivals.)

Sundance Review: Adventures of Power



Wow. You just don't expect to see a movie this awful playing at the Sundance Film Festival (even if a good deal of the film was shot in Utah). Truth be told, I don't expect to see a movie like this anywhere, but man oh man. I always try to think of something positive to say, no matter what the movie is, but this experience has defeated, deflated and depressed me. I'm actually a little irritated about it.

The flick is a very broad comedy called Adventures of Power, because the lead character is named Power. It's a waaaayyyy-too-late Napoleon Dynamite retread that would have been just as witless had it arrived two weeks after that overrated little hit. For the record, I have nothing against writer / director / lead actor Ari Gold; as a matter of fact, this movie was my very first experience with the guy -- despite the fact that he's already appeared in several indies and some award-winning short films. But going only by what I just witnessed in Adventures of Power, Mr. Gold is A) a plainly bland and lifeless director, B) a (gotta say it) pretty damn terrible screenwriter, and C) a lead actor with the screen presence of cottage cheese.

Continue reading Sundance Review: Adventures of Power

Sundance Review: Pretty Bird



Here's another entry in the Good Sundance Movies with Rotten Titles category: Pretty Bird. The directorial debut of Paul Schneider (he wrote All the Real Girls and acted in movies like Elizabethtown, The Family Stone and The Assassination of Jesse James), Pretty Bird has nothing to do with birds. The closest the film comes to "birds" is the jet-propelled "rocket belt" that causes all sorts of problems for everyone involved. But, I'm getting ahead of myself.

Curtis Prentiss (Billy Crudup) is one hell of a schmoozer. He may not have many talents -- heck, he's not even all that smart -- but Curtis does have some very strong social skills -- and he seems like he could easily sell ice cubes to an Eskimo if he had to. Prentiss pops in to visit an old college friend named Kenny (the excellent David Hornsby), who is more than happy to invest in Curtis latest venture: a rocket belt. Kenny throws a whole lot of cash Curtis' way, and then the duo decides that they need an actual engineer to get this project "off the ground" -- and to that end they hire an out-of-work (and hot-tempered) rocket expert named Rick Honeycutt (the hilarious Paul Giamatti).

Continue reading Sundance Review: Pretty Bird

Live from Sundance: The Wackness Saga Has a Surprise Ending

Here's one of the things you do a lot of at film festivals: Talk to people. In line while waiting for a movie, and then some more in the screening room, and then afterwards -- especially if you're a smoker. Like me. It was during one such chat session with James Rocchi and the lovely producer Jennifer Chikes that I noticed a semi-familiar figure standing not too far away. The young man waited until there was a lull in our conversation (and lulls don't occur all too often in conversations that I'm participating in), and then he stepped in to introduce himself.

"Hey, I thought I recognized the name. You're Scott Weinberg from Cinematical, right?"

"Yep!" (I shake the man's hand.)

"Hey, I'm John...."

And before he even got his last name out, I remembered his face. This was Jonathan Levine, director of the very cool horror film All the Boys Love Mandy Lane. Unfortunately for me (or so I thought), Mr. Levine is also the director of a highly-buzzed film called The Wackness ... which (as you probably know by now) I didn't dig all that much.

Continue reading Live from Sundance: The Wackness Saga Has a Surprise Ending

Live from Sundance: Random Musings from a Lazy Film Critic

For the past several days, my esteemed colleagues have been posting all sorts of LIVE! On the Scene! reports from up here in Park City. (Great stuff, fellas. Seriously.) But every time I run into Kim, Erik, Eric, and / or James (which is often because I love all four of 'em as passionately as I do platonically) I get an earful of something like this: "Go post a live from Sundance entry, you lazy jerk!" -- to which I generally reply "C'mon, all I'm really doing is seeing four movies a day, so how the heck should I make an interesting LIVE! post about that? Plus, I'm here to review movies, not coo at the sight of Kirsten Dunst in our hotel lobby." But then Kim / Eric / Erik / James will shut me up with "Oh, you're a freakin' writer. Go write. Crybaby."

So now! Live from Sundance! At 2:12 am in a freezing hotel room! It's Scott Weinberg, Live from Sundance! Yes, Cinematical's wackiest Jewish person, here to deliver a random selection of Sundance Musings. Enjoy.

1. Several of my colleagues from across the interweb (I'm talking about some very fine horror geeks from sites like ComingSoon.net, Film Threat, CHUD.com, AICN, and a few others) have called me insane (to my face and otherwise) for not love-love-loving a movie called The Wackness. Apparently I'm the only human being in all of Park City who didn't really dig the film, and now I am a pariah among the flick geeks. I'm sure they'll all forgive me for expressing my honest opinion about the film. Or perhaps I just don't know what I'm doing these days. I also liked The Bucket List.

2. When you look up a movie in the Sundance guide, you're greeted with a very articulate synopsis, a very thorough listing of cast and crew members ... and a running time that's nearly always DEAD WRONG. When you're a professional flick-watcher and you're trying to schedule four or five movies a day, it really does help to have a film's accurate running time. Today, right before a screening of the surprisingly good thriller The Broken, a festival volunteer came in to inform us that the film's running time was actually 88 minutes, and not the 110 that the guide stated. We all clapped rather enthusiastically at that news, because when you're seeing four or five movies a day, "88 minutes" is like a gift from the angels.

Continue reading Live from Sundance: Random Musings from a Lazy Film Critic

Sundance Review: The Mysteries of Pittsburgh



Most directors' first effort is NOT a huge blockbuster smash of a comedy starring Ben Stiller and Vince Vaughn, but that's how writer/director Rawson Marshall Thurber hit the scene: with Dodgeball. But based on the filmmaker's second effort, I'm guessing that Thurber took a lot of good-natured ribbing from his film-school friends and decided to snag some "indie cred" by doing a smaller movie for his second feature. That's all well and good, but it's too bad that the resulting movie -- The Mysteries of Pittsburgh -- is such an inert, episodic, and familiar piece of very typical festival fare. It's as if Mr. Thurber watched six Sundance films at random, and then just copied his favorite scenes from each one.

Based on the novel of the same name by Michael Chabon, The Mysteries of Pittsburgh is about the son of an infamous gangster who spends his last summer before "adult life" roaming around with two "free-spirited" pals. The year is 1983, and young Art Bechstein (Jon Foster) is at a serious crossroads. Completely opposed to his father's lifestyle, Art (reluctantly) plans to become a stockbroker in a few months' time -- but that means a few open months in which he can A) work at a chintzy discount book store, B) cast lovesick glances towards his new friend Jane (Sienna Miller), and C) become close pals with a bisexual street thug called Cleveland (Peter Sarsgaard). Oh, and D) nail his slightly unhinged boss (Mena Suvari).

Continue reading Sundance Review: The Mysteries of Pittsburgh

Sundance Review: The Merry Gentleman



The title of Michael Keaton's directorial debut -- The Merry Gentleman -- is meant to be pretty ironic, because the only true gentleman in the movie is anything BUT merry. He is, as a matter of fact, a cold-blooded assassin who contemplates suicide after completing every contract. Even the normally perky Kelly Macdonald is generally quite miserable too, here playing a woman on the run from an abusive husband -- and a woman who just (unknowingly) became friends with that assassin guy.

Professional hitman Frank Logan is at the end of his rope. Clearly fed up with a life spent taking lives, Frank finishes up his latest contract, and then hops onto a rooftop ledge and considers a long plunge. At that same moment, on street level, a sweet young lady named Kate looks up to appreciate the new snowflakes -- and catches a glimpse of Frank. She screams, he slips and falls (backwards), and when the cops show up they find pretty much nothing. But the next morning (once a corpse is found in an upstairs office) two smart detectives pop up to ask Kate a few questions about the man she saw.

Needless to say, a killer of Frank's expertise is already well-aware of what the witness saw.

Continue reading Sundance Review: The Merry Gentleman

Sundance Review: Good Dick



Yes, the title of the movie is "Good Dick," no, there's no character named Dick in the film, and yes, I definitely think that the flick's eventual distributor will change it to something a little less, well, tacky. But I believe a brave distributor will come along and show this fine little film some love -- despite its frequent proclivity for very frank and seriously explicit sex talk. Fortunately, the film comes from a very sincere and heartfelt place, which makes the few "uncomfortable" moments perfectly acceptable ... and frequently quite fascinating.

Jason Ritter and fantastic newcomer Marianna Palka star as a pair of unnamed twenty-somethings who don't "meet cute," don't fall madly in love, and don't really get along all that well -- yet they still make for one of the most fascinating on-screen movie couples in quite some time. "He" is a homeless video store clerk who has a desperate yearning for some romantic contact. "She" is a seriously unhappy young woman who seems to have a strong affection for hardcore pornography. "He," for some strange-yet-sweet reason, can see through her powerfully unpleasant exterior -- and he seems to be well and truly smitten with this dysfunctional female. "She" claims to have no affection whatsoever for her new sorta-boyfriend, but she also welcomes him into her apartment (and bed) time and time again. Oh, but she won't get physical. At all.

Continue reading Sundance Review: Good Dick

Sundance Review: Quid Pro Quo



How's this for a premise? A young reporter who lost the use of his legs in a childhood car accident is asked to look into a group of handicap "wannabes" before he falls in love with a physically-abled woman who, yep, desperately wants to be a paraplegic. Sounds pretty outlandish, doesn't it? But the truth is that there ARE people out there who'd prefer to be wheelchair-bound -- as "crazy" as that might sound to you and me. Strange but true, folks, and Carlos Brooks' oddly illuminating Quid Pro Quo does an appreciably good job of delving into some rather arcane issues.

Although he needs a wheelchair to get around, radio journalist Isaac Knot (get it? I Sick. Not.) is by no means disabled. Aside from the fact that he can't stand or walk, Isaac has no problem getting around New York City, chasing down story leads, and handling a fairly normal social life. (Aside from all the skittish single chicks who get freaked out at the sight of a wheelchair, that is, and all those lazy cab drivers.)

But when a decidedly strange story hits the wire -- apparently a man recently walked into a hospital and offered a doctor $250,000 to amputate a perfectly healthy leg -- Isaac becomes intrigued. Professional interest turns into personal business when a mysterious (and sexy!) informant pops up and offers Isaac an odd exclusive: She'll introduce him to the world of "wannabes" if he teaches her what it's like to be stuck in a chair all the time.

Continue reading Sundance Review: Quid Pro Quo

Sundance Review: What Just Happened?



If you're a ravenous movie nerd like me, than there's very little in Barry Levinson's "inside baseball" Hollywood movie What Just Happened? If, on the other hand, you don't know a whole lot about studio politics, the angst of test-market screenings, and the tricks that movie-makers (or, more specifically, movie-sellers) will pull just to get a festival screening and a huge opening weekend, then you'll most likely get a whole bunch of chuckles out of the flick. To those who know about this stuff all too well, the comedy should still make for an interesting enough diversion -- thanks mainly to a massive, colorful cast and a few solid jabs that hit Hollywood right in the kisser.

Based on producer Art Linson's book What Just Happened? Bitter Hollywood Tales from the Front Line, the film version tells the story of one very successful Hollywood producer, and the ways in which he juggles multiple professional crises, as well as some prickly domestic issues at the same time. Robert De Niro is our movie producer, doing his best "sly" comedic work since (probably) Wag the Dog. John Turturro is the archetypal agent: skittish, shifty, and packing a nasty ulcer. Stanley Tucci is the writer who needs our protagonist for professional reasons, but pursues his ex-wife (Robin Wright Penn) for other activities. Michael Wincott is the drug-infested director whose ultra-edgy film is being mangled by horrifying studio boss Catherine Keener.

Toss in some supremely amusing "self-mocking" performances from movie stars Bruce Willis and Sean Penn, and you've got the makings of a flick best described as "movie geek heaven." And while What Just Happened? is by all means a colorful and generally pretty funny expose of modern-day Hollywood, it often feels like Levinson and Linson (he also penned the screenplay adaptation) are content to preach to the choir. It's meant to be outrageous and unbelievable how art turns into pure commerce, but there have been plenty of Hollywood satires that demolish the "test screening" mentality, the "beleaguered producer" conceit, and the oh-so-cynical insinuation that Hollywood has no integrity whatsoever. So while much of the material in What Just Happened? is insightful and accurate ... it's just not all that new or shocking anymore.

Continue reading Sundance Review: What Just Happened?

Sundance Review: The Great Buck Howard



One might not expect a sweet, funny and warm-hearted crowd-pleaser from the man who wrote movies like Sexual Roulette, Sonic Impact, and Venomous, but I guess filmmaker Sean McGinly has spent the last eleven years churning out schlock flicks just so he could get to something good. And I'm very pleased to report that his newest offering, a smoothly, strongly appealing comedy called The Great Buck Howard, is definitely the "big break" that McGinly's been working for. Backed by a fantastic performance by John Malkovich -- and some really fine work from young actors Colin Hanks and Emily Blunt -- The Great Buck Howard might be the most affectionate look back at old-school entertainment since Peter O'Toole boozed his way through My Favorite Year.

Hanks is a law student who despises law school, so (directly against his father's wishes) Troy Gable bails on higher education and lands a job as a road producer for a serious has-been of a magician. Formerly quite famous (he's been on Johnny Carson's Tonight Show over 60 times), Buck Howard is a relic of a more innocent time. Magician, mentalist, musician and comedian, Mr. Howard is "old-school entertainment" at its most sincere -- and sincerely forgotten. Troy and Buck strike up a professional friendship, although obviously their relationship is due for a few rocky moments.

Continue reading Sundance Review: The Great Buck Howard

Sundance Review: The Wackness



I was pretty impressed with director John Levine's debut film, the retro-slasher horror throwback known as All the Boys Love Mandy Lane, and so logically I was looking forward to the filmmaker's follow-up project. Unfortunately, Mr. Levine chose to not only direct his sophomore effort, but write it too. And that's where most of the problems start. Based only on his first two films, it's pretty clear that Levine has a gift for the visual side of the equation -- but as far as the writing goes...

The Wackness (yes, that's the actual title, and wait till you hear the actual dialog that inspired the title) feels like something that was written by a bored 17-year-old during one lazy afternoon in detention. And while it's safe to assume that much of The Wackness is based on Levine's own experiences, the potential realism is consistently undone by the writer's affection for cliche, stereotype, and completely unrealistic behavior. A potentially poignant moment is followed by a really obvious drug gag, which is then followed by some small chunk of speech-making that never once sounds like something a human would say.

Continue reading Sundance Review: The Wackness

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